Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.23.Which of the following would Shaw and Newman most probably agree on?A.It is writers'duty to fulfill journalistic goals.B.It is contemptible for writers to be journalists.C.Writers are likely to be tempted into journalism.D.Not all writers are capable of journalistic writing.
Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.23.Which of the following would Shaw and Newman most probably agree on?
A.It is writers'duty to fulfill journalistic goals.
B.It is contemptible for writers to be journalists.
C.Writers are likely to be tempted into journalism.
D.Not all writers are capable of journalistic writing.
B.It is contemptible for writers to be journalists.
C.Writers are likely to be tempted into journalism.
D.Not all writers are capable of journalistic writing.
参考解析
解析：首先，我们根据题干中的人名Shaw and Newman定位到第三段结尾处。第三段末句引用了Newman的观点“So few authors have brains enough or literary gift enough to keep their own end up in journalism,that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”他认为拥有足够的才智可以在新闻事业上有所成就的人是如此的少，所以我们可以把答案确定为D。A项中“journalistic goals”（新闻业的目标），无中生有。B项中“作家成为记者是值得鄙视的”与原文中的proud（自豪的）相反。C项中“作者容易被新闻业吸引”，是不对的，因为原文说的是被define“journalism”as…所吸引，而不是被journalism所吸引。【补充】需要注意的是D选项中not all属于部分否定，语气委婉，在选项中出现往往正确。
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156 During project execution, the customer authorizes and funds a scope change which requires a major change in the schedule. The baseline schedule:A. Now becomes the new schedule, including the changes, and the original baseline is disregarded. B. Is still the original baseline but annotated to reflect that a change has taken place.C. Is amended to reflect the scope change, but the original baseline is still maintained for post-project review.D. Is meaningless since every schedule update changes the baseline (i.e., a rubber baseline.)E. Is the same since baseline schedules cannot change once the development phase is completed
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Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are."Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote.Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat.It is indicated in Paragraphs 1 and 2 that__A.arts criticism has disappeared from big-city newspapersB.English-language newspapers used to carry more arts reviewsC.high-quality newspapers retain a large body of readersD.young readers doubt the suitability of criticism on dailies
Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.21.It is indicated in Paragraphs 1 and 2 thatA.arts criticism has disappeared from big-city newspapers.B.English-language newspapers used to carry more arts reviews.C.high-quality newspapers retain a large body of readers.D.young readers doubt the suitability of criticism on dailies.
Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.22.Newspaper reviews in England before World War II were characterized byA.free themes.B.casual style.C.elaborate layout.D.radical viewpoints.
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are."Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote.Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat.Which of the following would Shaw and Newman most probably agree on?A.It is writers' duty to fulfill journalistic goals.B.It is contemptible for writers to be journalists.C.Writers are likely to be tempted into journalism.D.Not all writers are capable of journalistic writing.
Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.24.What can be learned about Cardus according to the last two paragraphs?A.His music criticism may not appeal to readers today.B.His reputation as a music critic has long been in dispute.C.His style caters largely to modern specialists.D.His writings fail to follow the amateur tradition.
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are."Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote.Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat.What would be the best title for the text?A.Newspapers of the Good Old DaysB.The Lost Horizon in NewspapersC.Mournful Decline of JournalismD.Prominent Critics in Memory
Text 1 Of all the changes that have taken place in English-language newspapers during the past quarter-century,perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers.Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews.To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II,at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared.In those far-off days,it was taken for granted that the critics of major papers would write in detail and at length about the events they covered.Theirs was a serious business,and even those reviewers who wore their learning lightly,like George Bernard Shaw and Ernest Newman,could be trusted to know what they were about.These men believed in journalism as a calling,and were proud to be published in the daily press.“So few authors have brains enough or literary gift enough to keep their own end up in journalism,”Newman wrote,“that I am tempted to define‘journalism’as‘a term of contempt applied by writers who are not read to writers who are.’”Unfortunately,these critics are virtually forgotten.Neville Cardus,who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975,is now known solely as a writer of essays on the game of cricket.During his lifetime,though,he was also one of England’s foremost classical-music critics,a stylist so widely admired that his Autobiography（1947）became a best-seller.He was knighted in 1967,the first music critic to be so honored.Yet only one of his books is now in print,and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus’s criticism will enjoy a revival?The prospect seems remote.Journalistic tastes had changed long before his death,and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized.Moreover,the amateur tradition in music criticism has been in headlong retreat.25.What would be the best title for the text?A.Newspapers of the Good Old DaysB.The Lost Horizon in NewspapersC.Mournful Decline of JournalismD.Prominent Critics in Memory
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared． In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered．Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. "So few authors have brains enough or literary gift enough to keep their own end up in journalism," Newman wrote, "that I am tempted to define 'journalism' as a term of contempt applied by writers who are not read to writers who are."Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored． Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote.Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized． Moreover, the amateur tradition in music criticism has been in headlong retreat.Newspaper reviews in England before World War II were characterized by__A.free themesB.casual styleC.elaborate layoutD.radical viewpoints
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